FALL 2024 / EXHIBITIONS, EVENTS & MORE
THE CAUSE OF ART IS THE CAUSE OF THE PEOPLE Those words byWilliamMorris, inscribed in stone above the museum’s front entrance, exemplify our longstandingmission to bring the power of art to the greatest possible number of people. Your support for the museum continues this important tradition of connecting art and the public. Learn more at amam.oberlin.edu/support. CAN’T MAKE IT TO THE ALLEN? Search the entire collection online: amam.oberlin.edu/collection Take a deep dive into highlights from the collection with the Allen App: allen.stqry.app Visit the galleries, changing exhibitions, and the Frank LloydWright house virtually with Allen Augmented Reality: amam.oberlin.edu/aar DON’T MISS A THING Follow us @allenartmuseum Sign up for our e-newsletter: amam.oberlin.edu/e-news GROUP TOURS Free guided tours are available for adults and K–12 visitors. For information, please call 440-775-8166 or email education.amam@oberlin.edu. FROM THE DIRECTOR The autumn is always a time of transition, and this one seems even more so. I write this having accepted an offer from the Cleveland Museum of Art to serve as its next deputy director and chief curator, and I will leave the Allen—a place that will forever be dear to me—at the end of November. These past 18 ½ years, since I first took up a role here as curator and then, since mid-2012, as director, have been a marvelous time of growth, personally and professionally. Among the many wonderful aspects of my new position is that I will not be going far from this superb institution, with its irreplaceable collection, dedicated staff, historic facilities, and engaging programs. You, the museum’s members and friends, have helped to enable this very special place that is the Allen to achieve so much for our community. I hope to remain in good touch with you in my new role—and I expect to continue to see you often here, when, like you, I’ll be a supportive visitor! A positive aspect of this moment of change is that experiencedmuseum professional Katherine Solender (OC 1977), who has served thrice as interim or acting director, will again take on the interim role during the search for a new director. Katie knows the Allen intimately from her role on the museum’s Visiting Committee and her prior work here; she was of tremendous help to me in the efforts that led to the Allen’s strategic plan (on the execution of which we, as a staff, are making terrific progress). I know that the museumwill continue to flourish with her expert leadership. The Visiting Committee—a group that provides advice to the Allen’s director as well as to the College administration—is also undergoing a change in leadership; we thank Carl Gerber (OC 1958, about whom you can readmore on page 16) for his more than 16 years of service chairing the Committee even as we welcome to that role Oberlin resident Robert Taylor, who has long been a friendly face on the museum’s Volunteer Guild and has served on the Committee since 2010. I regret that there have recently been some transitions affecting those close to the museum that have not been positive: we have lost three dedicated donors and volunteers in George Haley (OC 1948), Bob Kasayka, and Jim Sunshine (OC 1946/graduated 1949). George, who grew up nearby in Lorain, was a professor of Spanish literature at the University of Chicago. He loved and collected European artworks, many of which he bequeathed to the Allen following his death in June, after generously making several earlier donations. Bob, a South Amherst resident, was a longstandingmember of the Volunteer Guild, serving faithfully on weekends at the welcome desk with his wife Marilyn until his death in August. A kind and stalwart supporter, he attended Tuesday Teas andmany other events following his career as an accountant and CFO. Jim, too, was a Volunteer Guild member; an Oberlin resident and former newspaper writer and editor who died last December, he donated funds to the museum for American art purchases and enjoyed welcoming museumguests. All of themwill be greatly missed. On a happier note, I’mdelighted that the museum—following a summer closure—reopened on September 6. The staff spent the interveningmonths profitably in reinstalling the galleries: Marlise Brown by rethinking the presentation of older European works to include more objects along with paintings; SamAdams by creating a space for video projection, with student assistant Dlisah Lapidus (OC 2026); and Kevin Greenwood by showcasing the Coiling Dragon after 87 North Main Street Oberlin, Ohio 44074 440-775-8665 amam.oberlin.edu Tue–Sat / 10 am–5 pm Sun, Mon / Closed Always Free Cover: Curator Kevin Greenwood discusses the newly-conserved Incense Burner with Dragon Base with student and gallery guide Sadie Winkelstein (OC 2025). Photo by Mike Crupi.
AT THE ALLEN / FALL 2024 / 3 its successful grant-funded conservation, for which we are very grateful to the E. Rhodes and Leona B. Carpenter Foundation. The presentation of ancient works in the ambulatory, too, has been marvelously refreshed by Marlise Brown and Emily French, with a thematic focus. All the installation work was expertly achieved by preparators Andre Sepetavec and Michael Reynolds, aided by the efforts of registrars Lucille Stiger and Selina Bartlett—and as always, supported by Administrative Assistant Jessica Lear and Communications Manager Stacie Ross. Moreover, you’ll notice other terrific changes, including refinished floors in the Nord andWillard-Newell galleries, beautiful new carpet on the second floor, and new lighting in East Gallery. Importantly, the museum’s heating and cooling system—already geothermal andmeeting the LEED Gold standard since 2011—is now connected to the College’s new system through the major work of Oberlin College’s Sustainable Infrastructure Program, work in which the Allen’s security staff, led by Leondist DuVall, played a major role. While we missed having you in the museum, staff were able to continue community connections through a wealth of programs, including for new College faculty and students and at the Frank LloydWright house, overseen by Jill Greenwood, Alyssa Traster, Ellis Lane, and Emily French. And naturally planning continued apace for future projects: looking ahead, the Allen has co-organized exciting exhibitions featuring the work of Claude Monet and June Leaf, which will come here in 2025 and 2026. It’s bittersweet to leave the Allen, an institution that has given more to me than I could have ever hoped or expected so many years ago when I first walked through its doors. I will miss it—and you—more than I can say. But I know that the museum is strong, and getting stronger. Together, we’ve raised funds to endow curatorships, as well as monies for programs, publications, and acquisitions that have broadly diversified the museum’s collection to include more works by women artists and artists frommany cultures and backgrounds. Other good developments regarding increased staffing and expanded facilities are in the works, and the museum’s connection with the broader community is more robust than ever. For all of this, I thank you. And I will look forward, very much, to staying in touch, as we jointly continue to care for this exceptional museum. Andria Derstine John G. W. Cowles Director TANYA ROSEN-JONES
4 / AMAM.OBERLIN.EDU Willard-Newell Gallery Nord Gallery
AT THE ALLEN / FALL 2024 / 5 ON VIEW / NORD & WILLARD-NEWELL GALLERIES / ONGOING GOLDEN LEGACIES: THE ART OF LUXURY The newly reinstalled Nord andWillard-Newell Galleries challenge modern perceptions that rank painting, sculpture, and architecture above the so-called “decorative arts,” emphasizing that luxury objects were integral to the artistic, political, and social landscapes of early modern Europe. The galleries reveal how these objects reflected power, reinforced social order, and adorned both public and domestic spaces. Visitors are invited to consider the complex histories behind the production of luxury goods and their lasting cultural impacts. Nord: Luxury andArt Turned-ivory, enameled silver, tapestries, illuminated codices, ephemeral courtly spectacles, and polychromed sculpture are all examples of Medieval and Renaissance luxuries. Today, many people think of functional luxury objects—known as the “decorative arts”—as a “minor” art form and hold painting, sculpture, and architecture in higher esteem. This dismissive hierarchical distinction between “luxury” and “art,” however, is a modern inclination that did not exist for early modern audiences. In most Medieval and Renaissance buildings—whether a palace, church, or civic structure—painting, sculpture, and decorative arts often occupied the same space. These artworks worked together as multisensorial ensembles. To isolate and rank one art form above A student examines a Peruvian cross from the 18th century. Students discuss works on view in a newly-installed case. MIKE CRUPI another, is to misunderstand the function of early modern art. Throughout Europe, wealthy patrons used luxury arts as symbols of their magnificenza (an Aristotelian virtue and a noble expression of a ruler’s power and generosity through the commissioning of art, architecture, and ephemeral spectacles). Luxury was far from superfluous. These art forms were used to establish political allegiances and reinforce social order. Willard-Newell: Shades of Gold This gallery highlights European traditions in art spanning the 17th and 18th centuries. Historically, many museums have referred to this period of artistic production as a “Golden Age.” Utilizing this term, however, romanticizes and perpetuates harmful rhetoric about this period and the role that early modern Europe played in colonialism, enslavement, and inequity. During this time European consumers clamored for imported spices and luxury objects made of rare and expensive materials like porcelain, mahogany, and ivory. Highlighting the preciousness of these goods, they commonly called porcelain—initially imported fromChina and Japan— “White Gold,” whereas ebony wood—imported fromDutch colonies in modern-day Sri Lanka, India, and Indonesia—was colloquially called “Black Gold.” These coveted luxury objects, however, were often made possible by despotic rulers and contributed to imbalanced and exploitative systems of commerce and labor. “Shades of Gold” asks viewers to consider each artwork’s opulence and technical mastery while questioning why these luxury goods were produced, what labor was exploited, and what narratives were celebrated.
6 / AMAM.OBERLIN.EDU ON VIEW / STERN GALLERY / THROUGH DEC 21 REBIRTHOF THE DRAGON: CELEBRATING THE RESTORATION OF THE ALLEN’S COILING DRAGON A grand Japanese bronze sculpture, long hidden in plain sight, has been meticulously restored to its full splendor. Known as Incense Burner with Dragon Base, this impressive piece is a remarkable example of Japan’s Meiji period craftsmanship (1868–1912). The sculpture, now standing seven feet tall, features a majestic urn suspended above a plume of water, perched atop a coiling dragon. Originally conceived as a decorative work rather than a functional incense burner, this intricate itemwas crafted to captivate international markets during a time when Japan was eager to showcase its cultural prowess to the world. The dragon, a revered symbol of water and power in East Asia, forms the base of the sculpture, while the urn is adorned with phoenix-shaped handles, fish pendants, and a goddess seated amidst waves on the lid. The six relief panels decorating the urn further reveal a blend of Chinese and Japanese motifs, depicting guardian lions, playful children, a gibbon, and even an eagle battling a snake—possibly a subtle nod to Mexico’s national emblem, found on silver dollars that circulated in Asia during that period. AForgotten Treasure Rediscovered The journey of this extraordinary piece to the Allen Memorial Art Museum is as fascinating as the artwork itself. It was bequeathed to Oberlin College in 1904 by a Cleveland collector. However, the sculpture’s base, featuring the dragon, spent many years as a fountain in the museum’s courtyard, exposed to the elements. This led to significant wear and damage, prompting conservation in the 1990s funded by a grant from the E. Rhodes and Leona B. Carpenter Foundation. The dragon was subsequently displayed as a standalone sculpture inside the museum, with few realizing that it was merely the base of a much larger andmore intricate work. Thanks to a second generous grant from the Carpenter Foundation, the museum recently undertook a full restoration of the sculpture, repairing damage and replacing losses to the upper sections andmatching the color for the different pieces. The urn, along with all its components, has been reassembled, reintroducing this masterpiece to the public in its complete form for the first time in over a century. TheMeiji Period: ATime of Transformation The Meiji period, during which this sculpture was created, marked a time of profound change in Japan. The collapse of the samurai-led shogunate in the 1860s ushered in an era of modernization and industrialization, as Japan, under pressure from the United States and other powers, opened its doors to the world after centuries of isolation. Keen to demonstrate Japan’s cultural sophistication, the new government invested 1 5 CONTINUED ON PAGE 9
AT THE ALLEN / FALL 2024 / 7 2 3 4 6 1. Before coming to Oberlin, the dragon was part of the Olney Art Gallery which was founded as Cleveland’s first art museum in 1893. By bequeathing their large and diverse art collection to Oberlin College in 1904, Charles and Abigail Olney provided the basis of what would later become the Allen Memorial Art Museum in 1917. 2, 3, 4. For much of the 20th century, the dragon served as the centerpiece of a fountain located in the courtyard behind the museum. Decades of damage fromwater exposure and seasonal freezing led to severe cracks in the bronze, rusting of the interior iron armature, and staining from corrosion. 5. Prior to its recent restoration, the dragon was exhibited in the King Sculpture Court, often one of the first works visitors encountered in the museum. The mythical subject and dynamic sense of movement made it a highlight of the collection, particularly for young visitors. 6. Newly restored thanks to a grant from the E. Rhodes and Leona B. Carpenter Foundation, the dragon can now be seen in its original seven-foot stature in the Stern Gallery.
ON VIEW / NORTH AMBULATORY / ONGOING RETHINKING THE ART OF THE ANCIENT WORLD The Ancient Mediterranean andWestern Asian world was dynamic and diverse. It includedmuch of modern Europe, North Africa, and the Middle East, encompassingmany cultures and thousands of years of interaction between them. The Allen’s collection of ancient art spans 5,000 years—from around 4000 BCE to 1000 CE—and comes from areas around the Mediterranean Sea, such as Egypt, Greece, and Rome, and from as far east as modern Pakistan. Curators Marlise Brown and Emily French recently undertook the task of reimagining the gallery space displaying these artworks. Thoughtfully arranging items thematically, they brought together objects of daily life, items associated with religion and death, and works of sculpture. This arrangement highlights both the diversity of these ancient cultures and the shared practices that connected them across time and space. Visitors can explore a variety of artifacts, from large architectural fragments to small personal items, each offering unique insights into the ancient world. In addition to exploring daily life, the collection also delves into the religious practices and burial customs of ancient societies. From small shrines used for personal devotion to elaborately decorated funerary objects, the collection reveals how deeply religion was woven into every aspect of life in antiquity. Through these artifacts, the Allen invites visitors to discover the complex and interconnected world of ancient civilizations. The gallery features many old favorites as well as objects that were not on view in the previous installation. Among the coins are several Roman examples featuring portraits of imperial women. A stone relief of a guard from a monumental meeting hall in the Persian capital Persepolis flanks one end of the gallery. Sculpted in green stone, a triton (a human-sea creature hybrid) frommodern Pakistan, borrowed from the Asian collection, highlights interaction at the boundaries of empires. Above: Emily French, InterimCurator of Academic Programs; Andre Sepetavec, Chief Preparator; and Marlise Brown, Assistant Curator of European and American Art, work on a display case featuring objects of worship, death, and burial from ancient civilizations. Opposite top: The features of this 2nd century BCE head-shaped jug portray a person of African descent, highlighting the diversity of antiquity. Likely made in Alexandria, Egypt, it held water or wine for dining. Modern conceptions of race did not exist at the time, and skin color was not a factor in the creation and enforcement of social hierarchies. Opposite center: One notable aspect of several works on view is the use of polychromy. Artists in the Mediterranean region often enhanced sculpture and architecture with vibrant colors and inlaidmaterials, bringing lifelike qualities to their creations. Note the eyelashes of the Roman Head of Athena and the deepmaroon porphyry (a type of granite) of the Eastern Mediterranean Head of a Youth. Opposite bottom: Emily French examines an object from 525–515 BCE Greece which is on viewwith other objects used in daily life. 8 / AMAM.OBERLIN.EDU
AT THE ALLEN / FALL 2024 / 9 heavily in the arts. Artists who had honed their skills under samurai patronage turned to creating intricate works for international exhibitions, captivating audiences around the globe. Bronze sculptures like the Allen’s incense burner were among the most striking examples of Meiji-era artistry, symbolizing not just beauty, but also Japan’s cultural and technological advancements during this period of rapid change. ALegacy of Art: FromtheOlneyGallery to theAllen Before finding its permanent home in Oberlin, Incense Burner with Dragon Base was part of the collection at Cleveland’s first art museum, the Olney Art Gallery. Founded in 1893, the gallery was known for its eclectic displays of art and natural curiosities. In 1904, Charles and Abigail Olney bequeathed their collection to Oberlin College, laying the foundation for what would become the Allen Memorial Art Museum. The restoration of Incense Burner with Dragon Base marks the culmination of a 120-year journey. Once thought of as a decorative fountain, the entire work has been reassembled in all its grandeur, allowing visitors to experience the full impact of this masterpiece. Dragons Through theAges: ASpecial Exhibition To celebrate the dragon’s rebirth and the Year of the Dragon in 2024, the Allen presents a special exhibition that explores the rich symbolism of dragons across different cultures. The restored Incense Burner with Dragon Base serves as the centerpiece, accompanied by other dragon-themed works, such as the 16th-century Japanese paintings Ascending Dragon and Descending Dragon, and a contemporary video installation titled Five Dragons by Chinese artist Yang Yongliang. This exhibition examines the dual nature of dragons as both mystical protectors in East Asian lore and fearsome beasts in European mythology, as depicted in English painter John Martin’s Cadmus and the Dragon (1813). We invite the public to witness the rebirth of this extraordinary work of art and to explore the enduring legacy of the dragon in art and culture. REBIRTH OF THE DRAGON CONTINUED FROM PAGE 6 MIKE CRUPI
10 / AMAM.OBERLIN.EDU ON VIEW / NORTHWEST AMBULATORY / THROUGH DEC 21 MAKING SPACE FOR VIDEO ART Time-basedmedia encompasses film, video, sound art, performance, and other durational media. Since the turn of the millennium, art museums have grappled with how to preserve, store, and exhibit works in these categories. Each medium raises its own set of challenges. Film and video may have been produced on technologies that are no longer available, from fragile celluloid film to the discontinued software, Adobe Flash Player. Many museums’ acquisition budgets for time-based media now include an additional budget line for updating the equipment necessary to show it. Artists working with video often require a specific installation, which might be a set of rare vintage CRT monitors, a sound-proof black box, or a large projection screen. Due to high production cost, even short video works can be extremely expensive, with some institutions recently joining forces to co-acquire them. Prints, drawings, photographs, painting, and sculpture are media that the Allen has most actively acquired, exhibited, and integrated into the Oberlin College curriculum. Out of the museum’s more than 15,000 artworks, only 35 are moving-image works, ranging from 16 mm film to cassettes, DVDs, and NFTs. The pioneering video art curator WilliamOlander worked at the Allen from 1979 to 1984, before being hired by the NewMuseum for Contemporary Art in New York where he organized path-breaking exhibitions of video art. Olander was instrumental in acquiring several of the early video works in the Allen’s collection. In the intervening decades there have been numerous presentations of video works, but the acquisition and display of time-based media only became more consistent since 2012, with the acquisition of more than half of the museum’s holdings as gifts fromgenerous donors. Building the collection further would require long-term solutions, such as a future museum expansion that includes spaces dedicated to presenting time-basedmedia, as well as fundraising and budgeting for equipment and staff to maintain it. In the meantime, starting this fall we are using the Northwest Ambulatory as a space to present rotations of video works from the collection and to experiment with integrating the works into class visits and tours. Oberlin third-year student Dlisah Lapidus is working with the curator of modern and contemporary art to digitize the entire time-based collection. The inaugural presentation features Dara Birnbaum and Kalup Linzy. Birnbaum’s Technology/Transformation: Wonder Woman (1978–1979) is among the most iconic works in the history of video art, glitching and altering televisual content to critique sexist representations of women. Linzy’s Lollypop (2006), made in collaboration with performance artist Shaun Leonardo, uses lip-sync to reframe a vintage blues song, originally performed by a man and a woman, as a queer flirtation between two Black men. Exploiting the mutability of video, Birnbaum and Linzy use humor to transcend stereotypes of race, gender, and sexuality in mass media and popular entertainment. The exhibtion Video Space: Dara Birnbaum and Kalup Linzy was organized by SamAdams, Ellen Johnson ’33 Curator of Modern and Contemporary Art and Dlisah Lapidus (OC 2026). Top left: Kalup Linzy (American, b. 1977), Lollypop (stills), 2006. Video (black and white, sound, 3:20min.). Gift of Driek (OC 1965) and Michael (OC 1964) Zirinsky, 2023.1.83. Bottom left: Dara Birnbaum (American, b. 1946), Technology/Transformation: Wonder Woman (stills), 1978–79. Video (color, sound, 5:50min.). Special Exhibitions Fund, 1984.35.
AT THE ALLEN / FALL 2024 / 11 ON VIEW / RIPIN GALLERY / THROUGH JAN 18 ALBRECHT DÜRER, PRINTMAKER: OBSERVATION, IMITATION, AND INVENTION Albrecht Dürer (1471–1528) was Renaissance Germany’s leading artist and a pivotal figure in European art history. Born in Nuremberg, the son of a goldsmith, Dürer was a painter, publisher, and theorist. Best known as a printmaker, his skill and ingenuity raised woodcuts and engravings to new levels of aesthetic brilliance. Skillfully marketing his prints—all bearing his AD monogram—made him famous and freed him from the demands of patrons. A friend to humanist scholars and the first European artist to publish a book, Dürer was instrumental in establishing the artist as an intellectual. His insistence on artistic invention as intellectual property was also new. This exhibition draws on the Allen’s rich collection to present the breadth of his techniques and subjects. Some of his best-known works will be displayed all semester, while others highlighting specific themes will be switched midway, making nearly all of the Allen’s Dürer prints visible throughout the exhibition. Organized by Erik Inglis, Mildred C. Jay Professor of Art and HannahWirta Kinney, former Curator of Academic Programs with assistance from Lauren Marohn (OC 2024). Planning was supported by the Allen’s Exhibition Residency Grant and by a Powers Travel Grant fromOberlin College. Albrecht Dürer (German, 1471–1528), Hercules at the Crossroads, ca. 1498. Engraving. Gift of the Max Kade Foundation, 1968.82. Albrecht Dürer (German, 1471–1528), Betrayal of Christ, from the Large Passion, 1510. Woodcut. R. T. Miller Jr. Fund, 1957.4.
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AT THE ALLEN / FALL 2024 / 13 HIGHLIGHT / COLLECTION PRACTICES NEW ACQUISITIONS SHOWCASE BLACK CULTURE AND CHALLENGE HISTORICAL NARRATIVES Among the latest additions to the museum’s collection are Portrait of Two Girls, the earliest-known interracial American portrait in which the sitters are depicted as equal, and Roberto Lugo’s Harriet Tubman Jug, a powerful tribute to the iconic abolitionist. These artworks not only enrich the museum’s collection but also support its mission to inspire curiosity and connection for the broadest audience possible. Painted roughly four decades prior to the end of the Civil War, the Allen’s recent acquisition, Portrait of Two Girls depicts an interracial pair of sitters as equals. The girls’ body language and the symbolism of their coordinating attire communicate their closeness and familiarity— suggesting that the hierarchical and racial boundaries typical in 19th-century America do not apply here. One girl holds open a chapbook of the popular fairytale Cinderella. This narrative about shifting social status and the triumph of good over evil may mirror the backstory of this portrait, namely themes of sisterhood or stepsisterhood, temporary enslavement, and the rightful restoration of the main protagonist through the guise of dress, altered perception, and even magic. In another new acquisition, Roberto Lugo pays homage to one of the most pivotal figures in the fight for emancipation in his 2022 ceramic work, Harriet Tubman Jug. Lugo based its size and shape on a jug made in 1885 to commemorate a British army officer, instead honoring a figure from the same period whose contributions to American history were long overlooked. Lugo made this work amid debates about replacing Andrew Jackson’s face with that of Harriet Tubman on the 20-dollar bill. Lugo states, “I feel like Black people and Hispanic people are now part of the conversation. I have the autonomy to choose who gets to be put on this pot and who gets to be used as a muse.” While the acquisition of these artworks does not make a museum anti-racist, they better position us to develop programs and exhibitions that contribute to the longtermwork of dismantling white supremacy. Left: American, Portrait of Two Girls, ca. 1825–30. Oil on canvas. R. T. Miller Jr. Fund, MuseumFriends Fund, Oberlin Friends of Art Fund, Art Object Sales Fund, Richard Lee Ripin Art Purchase Fund, Hedy Landman ’53 Memorial Art Fund, and Goodman American Art Fund, 2024.10. Right: Roberto Lugo (American, b. 1981), Harriet Tubman Jug, 2022. Glazed stoneware, enamel paint, and luster. Hedy Landman (OC 1953) Memorial Art Fund, 2023.48.
14 / AMAM.OBERLIN.EDU HIGHLIGHT / EDUCATION THE ALLEN PARTNERS WITH LOCAL SCHOOLS “It was a great year of incorporating the Allen’s amazing collection of artwork into the curriculum of regional school districts with discussions on related themes.” —Jill Greenwood, Eric & Jane Nord Family Curator of Education During the 2023–24 academic year, the Allen Memorial Art Museum’s Education Department forgedmeaningful partnerships with local schools, engaging 600 students fromOberlin School District and an additional 360 from the surrounding area in a variety of enriching programs. From interactive tours and in-school sessions to specialized workshops, these collaborations brought art and education together in powerful ways. During the 2023 Summer Reading Program, Langston Middle School students discussed examples of courage, strength, and resilience as reflected in the book Refugee by Alan Grantz and in the painting Flight into Egypt (ca. 1910) by Henry Ossawa Tanner. JVS students in David Rudisill’s masonry class looked closely at the construction of the Frank LloydWright house and Cass Gilbert’s 1917 museum design. Oberlin Elementary School 5th graders visited the museum twice in conjunction with their units on early Western Hemisphere civilizations (Maya, Inca, and Aztec) and the Renaissance. Josie Martin brought her 11th grade high school students to the museum to expand on the themes in Chinua Achebe’s 1958 novel Things Fall Apart. Mr. Russell’s students in Race, Gender, and Oppression met with artist and OC faculty member Michael Roman to hear about his artistic process andmeaning in his artwork. The Education Department and 7th and 8th grade English Language Arts teachers Molly Angney and Margo Fox partnered with poet Lynn Powell for an in-school/inmusuempoetry workshop. Students practiced “reading” a work of art to increase visual literacy skills before a poetry lesson and had the opportunity to express their creativity with the written word as inspired by art. The poems written by 7th and 8th graders duringmuseum visits were published in an anthology and the 8th graders recorded their poems as an audio tour in our Allen App. “Working with K–12 students and building partnerships with their teachers is what I look forward to most in this position,” said Ellis Lane (OC 2022), Curatorial Assistant in the Education Department. “Making art accessible to everyone, across different ages and backgrounds, has inspiredme to go into the field of museum education.” These initiatives not only deepened students’ learning experiences but also emphasized the museum’s commitment to making art accessible to all.
AT THE ALLEN / FALL 2024 / 15 HIGHLIGHT / COMMUNITY OUTREACH A DAY OF CONNECTION: ART, MUSIC, AND HIV/AIDS Last April, the Allen hosted an event that continued Oberlin College’s decadeslong tradition of art, performance, and activism around experiences of HIV/AIDS. Planned in collaboration with dozens of students, faculty, and community members, A Day of Connection: Art, Music, and HIV/AIDS spannedmultiple generations, exploring the cathartic power of art in the wake of collective trauma. The day began in the galleries with seven back-to-back Oberlin Conservatory string quartets performing a program that responded to themes of grief and healing (photos 1 & 6), including works by composers Rhiannon Giddens (OC 2000) and Franghiz Ali-Zadeh. Students collaborated closely with the Allen’s curators and Conservatory faculty to identify musical selections that resonated with the artworks on view. Attendees had the opportunity to handle limited edition artists’ books andmaterials from college archives, chronicling the role of artists in the ongoing HIV/AIDS crisis. The day included pop-up talks in the galleries by Cleveland-based HIV/AIDS activist and artist Gil Kudrin (photo 4) and friends and family of Cleveland-born artist Jerome Caja (photo 5). The event concluded with an afternoon of performances developed by students fromOberlin’s Theater Department, with selections from Tony Kushner’s Angels in America (photo 2) and Patti Smith’s Just Kids, as well as original student compositions (photo 3). Additional campus and community partners such as Oberlin’s Multicultural Resource Commons and LGBTQ+ Lorain County offered information, activities, and resources during the event. Live performances and new relationships forged throughout the day brought joy and resilience to the exhibition The Body, the Host: HIV/AIDS and Christianity, which examines the intersection of faith, illness, and activism. The exhibition is on view through December 15, and a symposium is planned for November 15 and 16 which will expand on the themes explored in the exhibition. See page 23 for more information on the upcoming event. 1 3 5 6 4 2 TANYA ROSEN-JONES
16 / AMAM.OBERLIN.EDU HIGHLIGHT / DONOR PROFILES LEGACY OF GIVING: DONORS ENHANCE THE ALLEN’S COLLECTION AND PROGRAMS The Allen’s public engagement thrives thanks to staff, students, faculty, volunteers, and community members. Alumni donors like Betty Beer Franklin (OC 1965), Carl R. Gerber (OC 1958), and Dominique H. Vasseur (OC 1973) have also greatly enhanced the museum’s collection and resources, contributing significant art and funds for the benefit of future generations. Betty Beer Franklin majored in art history at Oberlin and went on to a distinguished career as an attorney, settling in Brookings, South Dakota. Having fallen in love with prints at Oberlin through study with Professor Wolfgang Stechow, the internationally-known expert on Dutch, Flemish, and German art, she began collecting works on paper, even as she nurtured her own skills as an artist. Importantly, she determined to focus on works by women at a time when they were often less sought-after than those by men. Her substantial collection of such works—including by Dorothy Dehner, Angelica Kauffman, Käthe Kollwitz, Berthe Morisot, and Diana Ghisi Scultori—has been donated to the Allen over the past 21 years, with many having been incorporated in recent exhibitions. Her first contribution to the museum, in 2001, was funding to support the acquisition of a sculpture by Alison Saar, and she has also donated numerous prints and drawings by men, including Albrecht Dürer, Utagawa Hiroshige I, and James Abbott McNeill Whistler. Recognizing the importance to a museum of funding for more than acquisitions, Betty has also endowed a substantial fund to enable future museumpublications, including catalogues, which will ensure that the research and scholarship of the museum’s curators reach a broad audience. Carl R. Gerber, who has just retired as Chair of the museum’s Visiting Committee after more than 16 years in that role and 19 years on the Committee, majored in chemistry at Oberlin—but had the world of art opened to him through the modern art course taught by beloved faculty member Ellen Johnson. Going on to a successful career at the Environmental Protection Agency, Gerber began collecting works by such artists as Richard Diebenkorn, Sam Gilliam, Roy Lichtenstein, Robert Motherwell, and Robert Rauschenberg. Since his first gift in 1974 he has donated much of his collection to the museum, often giving works in honor or memory of close friends and relatives. Always wishing to support the curators’ interests, he has provided funding for many more acquisitions, including by Berenice Abbott, Barbara Kruger, Jeanne Mammen, and Hiroshi Yoshida. On the occasion of his 60th birthday he set up an endowed fund for acquisitions of contemporary art, which has contributed to the purchase of works by Derrick Adams, LaToya Ruby Frazier, and DavidWojnarowicz, among others. Over his decades of service he has funded numerous other projects and programs, including the donor screen near the museum’s courtyard entrance. Dominique H. Vasseur, who recently moved back to Oberlin, majored in art history at the College and went on to work in curatorial positions at the Art Institute of Chicago, the Dayton Art Institute, and the Columbus Museum of Art. He began collecting Japanese prints in the late 1970s (so as not to compete with the museums where he worked in his field of interest, European art), and he started in earnest to collect European prints and drawings following his 2015 retirement. Early European lithography and the prints of French artist Pierre-Nolasque Bergeret are particular interests. Coincidentally, the Allen has a major painting by Bergeret, acquired in 1982 after Dominique’s graduation and in the same year that he curated an exhibition on the artist at Dayton. Since 2019 he has donated to the museum significant works in these areas, as well as many Japanese prints and several contemporary works. Additionally, he has set up an endowed acquisition fund in his areas of interest in memory of his parents (his mother graduated fromOberlin in 1943), and through an estate gift will set up a second endowment for conservation and the acquisition of works by LGBTQ artists. The Allen is grateful to friends of the museum such as Betty, Carl, and Dominique—and to all of the museum’s hundreds of donors each year. Your contributions truly make the museum a community-focused, communitysupported resource for learning and engagement, and enable the cutting-edge exhibitions, programs, and projects that the staff undertakes on behalf of all. Betty Beer Franklin Carl R. Gerber Dominique H. Vasseur
MUSEUM PREPARES TO RESTITUTE INDIGENOUS AMERICAN ITEM Since the 1990 Native American Graves Protection and Repatriation Act (NAGPRA), museums in the United States with collections that include Indigenous items are required to transparently report about human remains, funerary and sacred objects, and objects of cultural patrimony that they hold. In recent years, staff at the Allen, including former curator HannahWirta Kinney, working with consultant Sundance (Muskogee) and Associate Professor of Anthropology Amy Margaris, determined that an item previously catalogued as Peruvian was in fact from the Mississippian culture. Discovered in a grave in Tennessee, Water Bottle in the Shape of a Bird, which dates to about 1350–1450, was given to the museum in 1920 by the wife of Professor H. H. Wright, an Oberlin alumnus who taught mathematics andmusic at Fisk University; he had taken it in August 1885 from the Noel Cemetery south of Nashville. With the assistance of Professor Margaris, who serves as Oberlin College’s NAGPRA representative, the Allen is preparing to restitute the item to the Cherokee Nation, the Eastern Band of Cherokee Indians, and the United Keetoowah Band of Cherokee Indians in Oklahoma. The museum is also undertaking a new review of Indigenous items in the collection, in accordance with a 2024 revision to the original NAGPRA law. OBERLIN’S SIDEWALKS COME TO LIFE Every summer, Oberlin’s streets burst into color during the annual ChalkWalk. Artists of all ages and skill levels gather to transform the town’s sidewalks into a vibrant canvas. Local artists create intricate, detailed pieces, while children and families contribute playful doodles and bright shapes. The day becomes a celebration of art and community, as people stroll through the streets, admiring the temporary masterpieces. By evening, the town’s sidewalks are a living gallery, showcasing the diverse talents and imaginations of Oberlin’s residents. The Allen was proud to sponsor master artists Hector Castellanos, Wendy Mahon, and Robin Van Lear (seen here), in addition to local artist BethWolosz. AT THE ALLEN / FALL 2024 / 17
18 / AMAM.OBERLIN.EDU HIGHLIGHT / ARTIST PROFILE PUBLIC ART ICON ATHENA TACHA DEDICATES CHARLES RIVER INSTALLATION ON CAMPUS Athena Tacha, a prominent figure in public art who earned a master’s degree at Oberlin College in 1961, returned to campus for the dedication of Charles River, a unique aluminum sculpture she presented to Oberlin as a gift. A former curator at the Allen Memorial Art Museum and studio art faculty member, Tacha created the work in 1974 during a fellowship at MIT. This spring, the sculpture was installed and dedicated at its new home in the Nord Performing Arts Annex, next to Hall Auditorium. The celebration honored Tacha’s contribution to public art and her lasting impact on the Oberlin community. In January 1974, while a fellow at the Center for Advanced Visual Studies at MIT, Athena Tacha was encouraged to propose an ideal project for the banks of the Charles River in Cambridge. Although her idea for a terraced sculpture that would have been built in stone or concrete with pebblefilled terraces and plantings was never realized, it was developed through several drawings and a large cardboard model which was cast into this unique aluminum sculpture. The patterns and rhythms of nature have inspired this and many other of Tacha’s works, such as Streams, also installed in Oberlin along PlumCreek, which was her first public sculpture. Among the more than 40 competitions that she has won, her major commissions include those at Cleveland’s CaseWestern Reserve University, the Friendship Heights metro station inWashington D.C., the Muhammad Ali Plaza in Louisville, Kentucky, the New Jersey Department of Environmental Protection in Trenton, and a two-acre park in downtown Philadelphia. With Charles River, Tacha indicated that she wanted to “create an ambiguous, fluctuating space through a succession of changing rhythms, thus confusing normal expectations about gravity or horizontal/vertical perception. Walking is a rhythmical beat—a time relationship between body and ground. Steps or ground irregularities can modulate this rhythm, as my step-sequences operate both visually and kinesthetically, allowing one to experience the universe’s pulsating space-time.” While enhancing the Oberlin campus, Charles River celebrates Tacha’s substantial body of work and the role that Oberlin played in shaping her personal and professional journey as a major figure in public art. Subsequent to earning an MFA in sculpture in Athens, Greece, an MA in art history fromOberlin, and a PhD in aesthetics from the Sorbonne in Paris, she served as the first curator of modern and contemporary art at the Allen Memorial Art Museum, prior to taking up a faculty position in sculpture in the College’s art department in 1973, fromwhich she retired in 1999. Above left: Tacha poses with her artwork Charles River Step Sculpture (Homage to Heraclitus) (1974/1988) shortly after its creation. Above right: Tacha with her husband Richard Spear, who taught art history at Oberlin College from 1964 until 2000 and was director at the Allen from 1972 to 1983.
AT THE ALLEN / FALL 2024 / 19 FLW HOUSE / HISTORIC YEAR WRIGHT’S USONIAN GEM DRAWS CROWDS IN MILESTONE YEAR TheWeltzheimer/Johnson House experienced unprecedented demand this year, with tours selling out months in advance due to heightened interest sparked by the solar eclipse and the house’s 75th anniversary. Other exciting events this past year include a visit and a donation. “There was a confluence of events and increased interest in people wanting to visit the house throughout the season,” said Jill Greenwood, Eric & Jane Nord Family Curator of Education. “It started in April with the solar eclipse bringing a large number of visitors to the area. This happened to coincide with the 75th anniversary of theWeltzhemier family moving into the house. To celebrate, we had cake and prosecco in glorious spring weather. It was the kind of festive day that I think Margaret and Ellen would have loved.” Margaret Weltzheimer was the impetus for the Wright-designed home, and Ellen Johnson saved it after contractor alterations, and then donated it to the college upon her death in 1992. Earlier in the year, Mary Ann (Weltzheimer) Hunsicker, one of the original family members who is now 90, wanted to see the house again. She shared photographs and stories as she walked around her childhood home. Mary Ann is shown below in her old bedroom. One memory was a middle school dance held in the house (pictured below). One of the house’s perforated boards (wood sections cut in geometric patterns sandwiching a pane of glass) was recently up for auction. Catharina Meints Caldwell was the successful bidder and donated the panel back to the house. She shared, “During the late 1970s, my husband, James Caldwell, and I spent several years slowly restoring the 1893 ‘Andrews’ house at 195 Forest Street. During the restoration, two neighbors showed up with parts of the old house, which we were able to use, and I was very happy to see sections of a house reunited. So when I saw the auction item from the Weltzheimer house I was excited to see another reunion.” In the 1960s, a developer removed all of the north side perforated boards to allowmore light into the hallway interior. The original panels were dispersed until Ellen Johnson lovingly restored this area with local contractor Glenn Hobbs and his son Terry, who still lives in Oberlin. We are grateful to both Mary Ann and Catharina for sharing information and returning a portion of history to theWeltzheimer/Johnson House. JOHN SEYFRIED
20 / AMAM.OBERLIN.EDU INSIDETHE ALLEN CAPSTONE: FROM CANVAS TO FABRIC Last spring, 4th-year student Martina Taylor took inspiration from the iridescent fabric in Self-Portrait with StrawHat and Palette (ca. 1795) by Marie-Elisabeth Lemoine. Focused on the concept of “embodiedmaking,” where making is a form of knowing, Taylor hand-dyed Tencel yarn a bright green and wove it with blue, creating a waistcoat. For this capstone project she was supervised by local weaver and former OC Director of Recreation and Club Sports Betsy Bruce and Associate Professor Kristina Paabus, and held a display (with a reproductive image) in the College’s Baron Gallery. She noted, “I found this bold, colorful dress very striking. In the painting you can see a seamwhere the dress is constructed —it speaks to the artist’s care for it.” EXPLORING ART AND FAITH: FACULTY SPOTLIGHT Oberlin College Assistant Professor Michael Roman and A.G. Miller, Professor Emeritus of Religion and Africana Studies, and Pastor at Oberlin House of the Lord Fellowship, discuss artworks on view (including The Smallest Giant Makes for an Easy Target by Roman, seen to the far right) and offer insights into the intersection of art, faith, and social justice. YEVHEN GULENKO
AT THE ALLEN / FALL 2024 / 21 INSTA-FAMOUS Tyler Gunther, known as the Greedy Peasant on social media, recently visited “medieval Oberlin” and created a series of videos documenting the journey. In this video, the Peasant shares his newfound obsession with cangiantismo, a painting technique in which iridescent fabric appears to shift colors. Scan one of the codes above to watch on TikTok (left) or Instagram (right), and be sure to follow him for more content. COMMUNITY DAY In February visitors Celebrated Black History Month with a free printmaking event at the Allen. Oberlin College’s YeoPress students helped an all-ages crowd create their own prints. Donations were collected for Oberlin Community Services. Be sure to mark your calendar for the upcoming Community Day on November 2. GUARDIAN OF THE COLLECTION Since 1996, Lucille Stiger has served as the Allen’s dedicated registrar, a role that involves meticulously tracking the location and condition of the museum’s vast collection. Here, Stiger examines the condition of artworks from the Ancient Ambulatory cases before carefully placing them into storage. This step was essential in preparing for the museum’s summer construction projects to ensure each piece remains well-preserved and ready for future display. Stiger’s attention to detail and commitment to the collection underscore her vital role in maintaining the integrity of the museum’s art. What a pleasure to return here after many years to see somany works that are old friends—in such vibrant newcompany. — Jeanne-MarieMusto (OC 1985) Noted in the Allen’s visitor book ZUBIN BHATTACHARYA
22 / AMAM.OBERLIN.EDU OCT 8 / 3 PM TUESDAY TEA / ARTISTENTREPRENEURS: CAMERON, KÄSEBIER, AND BOURKE-WHITE During photography’s first century, the medium struggled to gain acceptance as an art form. At the same time, women fought for rights in the home and workplace. Julia Margaret Cameron, Gertrude Käsebier, and Margaret Bourke-White became leaders and innovators in this male-dominated field. Respected for their artistry and business acumen, these women fractured societal norms about what women could accomplish, while contributing to the recognition of photography as an art form. Barbara Tannenbaum, Curator of Photography and Chair of Prints, Drawings, and Photographs at the Cleveland Museum of Art, presents this talk in conjunction with the Allen’s exhibition Femme ’n isms, Part II: Flashpoints in Photography. OCT 11 / 10 AM–2:30 PM NEOEA DAY FOR K–12 EDUCATORS In partnership with North Eastern Ohio Education Association, the Allen is offering a workshop for educators to earn professional development hours (CEUs). The session Look Close, Breathe Deep: The Art Museum as an Educational Resource blends art, education, andmeditation as we explore the museum’s renowned collection and ways to increase visual literacy in K–12 students. For more information, visit the registration form at amam.oberlin.edu/neoea or contact the Education Department at education.amam@oberlin.edu. OCT 17 / 5:30 PM ALLEN AFTER HOURS / THE DRAGON IN JAPAN: RAINMAKER, DECORATOR, AMBASSADOR Dragons—controllers of weather, bringers of life-giving rain, and symbols of imperial majesty—have played a leading role in the Chinese imagination for manymillennia. Dragon-like creatures play a role in Japan’s foundation myths, but it was not until the medieval period that the Chinese version of this fabulous beast established itself as a subject for Japanese painting. Dragons entered the mainstream of Japanese pictorial and decorative art during the Edo period (1615–1868) and enjoyed a significant revival during the Meiji era (1868–1912) contributing to the symbolism of an assertive nation, active in global trade, identity-building, and imperial endeavor. Joe Earle, independent arts consultant and former Director of the Japan Society Gallery in New York, will trace the history of the dragon in China and Japan and CALENDAR OF EVENTS then, drawing on contemporary sources and design manuals, focus on the scaly monster’s predominance during the expansive decades around 1900 when the Oberlin bronze dragon was made— and speculate as to its likely designer. OCT 31, NOV 21, DEC 12 / 12:15 PM ZOOM / MINDFUL MEDITATION Take a break in your busy day and relax with art! Libni López, local clinical therapist with Authentically You Therapy, will lead sessions of intentional mindfulness centered around a work of art from the Allen’s collection, followed by a discussion facilitated by Education Department staff. These 45-minute Zoom sessions are free and open to anyone. Find details about our upcoming sessions and register at amam.oberlin.edu/meditation. NOV 2 / 12–4 PM COMMUNITY DAY The Allen presents an afternoon of activities for art lovers of all ages. Explore the recently restored bronze dragon and dragon-themed artworks in Stern Gallery to get inspiration for a craft assisted by the museum’s Gallery Guides. Drop in anytime during this free family- and student-friendly event. NOV 12 / 3 PM TUESDAY TEA / ALBRECHT DÜRER IN THE ALLEN: THE RARE AND UNIQUE Albrecht Dürer earned his fame and fortune as a printmaker. Amedium of multiples, Dürer could print hundreds of the same image from a single copper plate or woodblock. However, each impression of a print is singular, differing in ways large and small from other impressions of the same image. Students from this fall’s Dürer class taught by Professor Erik Inglis will share their research on the rare or unique aspects of the Allen’s prints. After the talk, join the students in the Ripin Gallery to look at the artworks in person. Above: Faith Ringgold (American, 1930–2024), The Sunflower Quilting Bee at Arles, 1995. Color lithograph. Art Rental Collection Fund, RC1996.1. Opposite top: Albrecht Dürer (German, 1471–1528), St. Jerome in his Study, 1514. Engraving. Mrs. F. F. Prentiss Bequest, 1944.60
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